THELMA & LOUISE Musical in the Works — Page 3

whatever2 said: "saw this two days ago ... cannot believe Sonia Friedman is attached. top to bottom awful.

first off, yes -- the car.

i also wondered in the opening scene how T&L managed to find the only gay bar in Arkansas -- all those men line dancing together! next i wondered why they were talking (ok, singing) about Tallahassee and Montgomery while planning their roadtrip from Arkansas to Oklahoma City. But ultimately I just couldn't understand why every plot point needed a (n unmemorable) power ballad.

the actors were all really good in service to a musical that just. wasn't. and apropos of the accent debate in another thread -- they all nailed the Texarkana twang. I'da believed any of them livesin a double-wide."

They go to a gay bar??

Sigh. The pandering....the pandering.

joevitus said: "Calling it pandering sounds rather homophobic to me.

I do wonder if they are at a gay bar, how the assault on Thelma comes about. Seems a weird choice to me, just based on the story as it was previously told (no idea if the inciting incident has been changed for this show--though that would strike me as weird)."



They are NOT EVER in a gay bar. i assume the poster that wrote that was joking?



i really enjoyed this! the bf said it was one of the best things he had ever seen! not sure about that but i do hope it has a further life on tour......

I so badly wanted to walk out during the interval, but I stayed out of respect for Amy Lennox and Rachel Tucker, who are doing the most with an abysmal score and book. Most of the melodies sound like standard musical-theatre shlock; the lyrics sound like one giant run-on sentence (sans decent rhyming). Far too many (forgettable) ballads. For Pete's sake, somehow *HAL* (the cop) was my favorite character in this show, even though he's generically written and has a change of perspective that happens way too quickly.